The archetype is sometimes used in philology to indicate the original drafting of a work or the oldest original text. Artistic creation is an archetype.

For instance, the original project, the “design sketch” of a Riva yacht, crafted by the creative mind of the designer who conceived the model and then drew it on a piece of paper.

A prototype, or proto instance, combines the most representative attributes of a category.
It is the member that stands out in a category and acts as a cognitive benchmark related to whom the other “poorer” members are categorized.

A design item is a prototype.

In fact  an object of design incorporates a high set of qualities such as ergonomics, usability, constructive simplicity, environmental sustainability, and aesthetics.

Every object that is designed according to these qualities, such as a yacht by legendary Italian ship-owner Riva, is, in itself, a prototype.

A stereotype is, instead, a negative caricature of certain positive traits possessed by members of a group, exaggerated to the point of becoming detestable or ridiculous, or, conversely, the positive exaggeration of characteristics which would, in themselves, be negative.

Typical examples are fake branded items.

Many coherent and integrated signs form a code. The most used codes are the following:

Proxemic codes are codes related to position of objects in space. For instance, having a lot of objects scattered on your writing desk send an idea of disorder and confusion. The same objects placed in your writing desk in good order send an idea of reliability, order, cleanliness and safety.

Kinetic codes  are codes related to the movements of elements in space. For instance, many people running fast can send an idea of danger, the same people walking may send an idea of ordered movement.

Mimetic codes  are the codes of facial expressions. The movement of facial muscles makes a face happy, sad or angry, serious or funny, shy or determined.

Gestural codes  are the codes of body’s movements. For instance, keeping your arms crossed sends a message of closing, while keeping them open instead sends a message of acceptance and warmth.

Furniture codes  are the codes of furniture. A modern furniture can send an idea of rigor, minimalism, ergonomics and simplicity. Antique furniture can send an idea of authenticity, tradition, warmth and comfort.

Architecture codes  are the codes of building. There is a difference between an apartment and a church, or between a school and a villa with a pool. Every building wants to send a different feeling.

Hairstyle codes  are the codes of coiffure and headdress. For instance, coloring your hair purple or green sends a message of transgression, whereas having your hair clean, bright and in good order sends an idea of cleanliness and reliability.

Clothes codes  are used to send a lot of messages. A dress can be a symbol of elegance or transgression, of sensuality or can send the idea of a jaunty air.

Luxury codes  are the codes of precious objects. A modern jewel can send an idea of rigor, minimalism. Antique jewels can send an idea of authenticity and tradition.

Some codes are very useful in understanding the time or the place where the scene is set.

A text is a series of concepts that are linked together, between a beginning point (when it stars, a novel for instance, or when you start to admire it) and a stopping point (when it finishes or when you finish to admire it).

For example a picture, a film, a video, a photo or a painting are visual texts, a novel or a letter is a verbal text, a symphony or a play is a sound text, a statue is a plastic text.

• A garment is a text
• A luxury house is a text
• A diamond parure is a text

Text can be synchronic or diachronic.

• It is synchronic when all the signs contained in it are sent together in the same moment and the receiver can use them when he prefers
• It is diachronic when the signs are sent in different moment and follow a timeline and the receiver is obliged to follow the order imposed by the sender.

So, a picture is a synchronic text, instead a video is a diachronic text.

How to communicate Fashion and Luxury in an effective way? The SEMIOMARKETING is a complex system, formed by innumerable variables that interacting with each other can make obtain an effective result.

The effectiveness of communication (and therefore its persuasive power) is not achieved easily and “instinctively” as many are led to believe, but only with the intelligent, cautious and aware use of sound, visual, verbal and non-verbal narrative variables.

SEMIOMARKETING is a methodology that discovers:

• the secrets to create evocative luxury communication, offline and online, which stimulates the target to buy and so to become customers
• the subliminal messages sent through shapes, colors, symbols and icons to evoke the desire to possess a luxury object, which act on our psyche.

Ars Europa, with many years of popular and successful collaboration with leading Institutes of Fashion, Art, Design and Management, has arranged a micro training course about “Semiomarketing: Communicative structures marketing oriented, aimed at optimizing business communications in order to improve the target-client conversion process, in Luxury“.

More information on:

http://www.arseuropa.org/academy/en/product/semiomarketing/

Communicative structures marketing oriented, aimed at optimizing business communications in order to improve the target-client conversion process, in Luxury

The SEMIOMARKETING is a strategy, an art, a technique and a game. It ‘still a complex system, formed by innumerable variables that interacting with each other can make obtain an effective result. The effectiveness of communication (and therefore its persuasive power) is not achieved easily and “instinctively” as many are led to believe, but only with the intelligent, cautious and aware use of sound, visual, verbal and non-verbal narrative variables.

SEMIOMARKETING discovers the secrets to create evocative luxury advertising, which stimulates the target to buy and so to become customers and the subliminal messages sent through shapes, colors, symbols and icons to evoke the desire to possess a luxury object, which act on our psyche. Only with careful study and knowledge of the various tricks of communication adapted to the various transmission channels (video, print, Web) you can hope to produce effective communication, so persuasive, so winning.

Cinzia Ligas, semiotician, and Fausto Crepaldi, digital media director, are among the foremost experts in Italy in luxury communication. They are consultants in semiomarketing, fashion semiology, fashion video advertising and virtual fashion, and lecturers at various prestigious university institutes.

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Cinzia Ligas and Fausto Crepaldi

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Barthes claims that there are two interconnected variables in the use of clothing (U) relating to its purchase (P).

Here below is the table of his theory:

1. U=P no fashion
2. U>P poverty
3. U<P fashion

From a communication point of view, this means that clothing assumes a value of sign in the second and third case, but not in the first.

U=P:standard clothes

As in the second case, when clothes are used much more often than they are purchased, this indicates that people wear old, often worn-out clothes.

In this case, clothes become the indicator that people cannot afford to buy new ones. Clothes become a sign of poverty, an involuntary form of communication. 

In such cases, there is obviously no room for Fashion.

In the third case, when new clothes are often purchased but not often used, this indicates that people can afford to use clothes as signs to communicate their wealth and refined taste to others.

In this case, clothes become a symbol of wealth, a status symbol, a voluntary form of communication. 

Fashion has the chance to manifest in this context, either as haute couture or as prêt-à-porter.

In the first case, when people buy new clothes only after realizing that they need to be changed because they have either shrunk or because they are no longer tight enough, or because the colours have faded from too much washing, there is no communication, but simply a form of aesthetic function that makes people decide to change clothes.

Fashion has narrow leeway in this context.

It is more a case of fast fashion, with the standard production of clothing.

New goal for the Ars Europa blogs circuit. Our Semiomarketing, which combines excellently marketing, semiotics and communication skills, has reached 1000 professional contacts.

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The term warpframe is made up of warp and frame and refers to all those visual and conceptual communication techniques that act in depth within a video narration, and whose stories they support.

Just like a tambour, in order to have a fabric, you need the threads of the warp to be weaved with those of the plot, and likewise the creation of an advertising video results in an emotional response, while infusing in the minds of the addressees certain desires. 

The purpose is the generation of unconscious associations, which require deep perceptive and narrative structures.

Warpframe, a semiomarketing technique used to optimize business video communication, is made up of ten items that have to be taken into account before producing the storyboard or writing the script, as follows:

Identity

• determines the role that the issuer wants to play in the communication flux regarding the addressee.

Relationship

• establishes the kind of relationship between issuer and addressee in order to reach the goal intended by the video.

Style

• puts the communication in the proper style in order to convey the chosen identity and relationships.

Signs

• indicate the symbols, icons or indexes necessary to reach the goal.

Codes

• indicate what mimetic, proxemic, kinetic or other elements are necessary to insert in order to reach the video's goal.

Figures

• concern the visual rhetoric figures that suit the story, in order to stimulate a positive feedback.

Roots

• concern the archetypical models that must be inserted in each story to make it more effective, while appealing to a collective unconscious.

 Roles

• are about actantial models that must be used in order to structure the story in such a manner as to be involving for the audience.

Balance

• represents the semiotic square, the forces that give dynamism to the story through the construction of balances between the different actants, that imply elements of contradiction, contrariety and complementarity.

Sub-limen

• concerns down deep messages, visual and textual, made of inferences, denotations and connotations, preconceptions that influence deeply the perception of the video by its target.